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9

There is a large difference between tone deafness and an undeveloped voice. Unless your parents are musicians, comments like that can be hurtful and can stifle musical exploration and creativity. Tone deafness is actually quite serious and is as it suggests - an inability to distinguish between certain sounds. This is akin to color-blindness, where a ...


8

In western staff notation every clef represent fixed set of notes so the what is written can easily be conveyed to any musician without much knowledge of the theory behind the notes just the knowledge of this is X note. Also note the key signatures themselves are set in a fixed pattern to simplify the reading for musicians. Even in the more loosely defined ...


4

Ear training is an unfortunate problem here in America. For children during their earliest formative years, precedence is given to visual and tactile learning. While this learning is undoubtedly important, too often are ears left under-developed. If hearing were trained the same way as sight, everyone would have perfect pitch. If I were teaching this ...


3

I can tell you right now you're not tone deaf. Tone deafness is a myth and I'll tell you why. From an Anatomical Point of View If you were tone deaf, you wouldn't be able to understand voice phrasing. You wouldn't be able to Even recognise between playing 2 notes on the piano. you wouldn't even be able to understand speech. ...


3

Typical musicianship includes ear training with the goal of relative pitch vs. absolute pitch in mind. There are tons of tutorials and books to get you started on training your ear to perceive differences of melodic steps as well as harmonic content but the most important part is to have a teacher. If you were to enroll in a college level music theory course ...


3

Yes, you can develop relative pitch through rote practice. But there are plenty of good courses out there that would likely save you a lot of time. Ultimately what you are learning is how to label what you are hearing and as such each person starts with their own strengths and weaknesses. As always combining multiple approaches tends to give the best ...


2

You could try severals things: Intervals training (you can check my answer to this question) Then have her sing the root of each chords of different chords changes. Then the third, and the five. Eventually, have her sing intervals that are not in the chords (play root and fifth and let her sing the thirds) Plus the regular singing exercices: five notes ...


1

I encountered the same question when I started playing the jammer (in the form of the Hexiano Android app). Due to its isomorphic keyboard layout (and thus ease of transposition), this instrument lends itself very well to a relative-pitch notation. Eventually, I developed my own system of jammer tablature. Of course, it suffers from a lack of musical ...


1

I am a voice teacher and I would add that many pitch issues are actually registration issues, i.e. coordinating the different registers of the voice, or other issues of vocal production. The singing technique of the student is almost certainly an issue. It is a mistake to think that all or even most pitch issues related to hearing. If I were you I would ...


1

As a piano teacher, you'll be aware of the aural part of ABRSM,et al exams.These could be a basis for starting her pitching.When she practises at home, does she sing along to tracks, backing tracks or what. She needs to bring along whatever , to give you a better idea of how she performs with them.If she's singing acapella, it won't help pitching at all. ...



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